麦蒂是13岁大的女孩，对暑假的到来，一方面开心，一方面难过，因为她哥哥总是欺负她，她还得照顾弟弟。麦蒂的同学费迪喜欢她总是突然间出现在她面前缠着她令她烦恼。本来姐姐离开家上大学，让她很伤心，不过她很高兴能自己住一间房间，结果她的姨妈茹丝却突然出现，破坏了她的计划，但没想到，她们的感情越来越好。。。。

江月在失去唯一的女儿后，意识到老公林远诚被白月光孟雪所惑，为了让林远诚看清孟雪的真面目，一步步撕下孟雪的伪装。孟雪唯利是图、不劳而获的思想也最终害得她自食其果。

宋研前世难产，婆婆蒋翠花和老公顾文远拒绝交手术费，大闹手术室，致她含恨而亡。重生后，回到女儿媛媛被蒋翠花喂过期泡面中毒这天。宋研为送女儿就医推了蒋翠花，却被蒋翠花在小区诬陷打骂老人。宋研拿出泡面证据，反转局势，蒋翠花竟讹邻居，还被揭露偷东西。 这时，顾文远来电称开车撞了蒋翠花。宋研想到前世的小三钱多多，明白两人已勾连。于是，她利用蒋翠花爱占小便宜的特点，精心布局，挑起几人矛盾，让他们窝里斗，反目成仇。最终，宋研成功带着女儿和顾文远离婚，蒋翠花、顾文远以及钱多多等人，都为他们的恶行付出了惨痛代价 。

The House on the Moon

A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch. A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality. Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others. The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.

作为演员，安迪-考夫曼是成功的，他主持的《周末直播》(Saturday Night Live)节目可以轻易地让人捧腹、严肃或是落泪，这是人们广为熟知的一面。然而…

吉川速男（1890-1959）是小規格業餘電影草創時期最熱忱的推手，一生著作超過 160 本，將對影像的愛透過文字與友誼，傳遞至 1930年代的無數角落。多年後，在整理收藏時，他無意間翻出年輕時未竟的夢想，那部從未拍成的科幻電影。於是，他再次啟程，踏上尋找「月世界」的旅程，彷彿業餘電影的青春從未遠離過。

郑先生是一个淳朴踏实的技术人员，他身负一家五口的重担，不畏艰辛，不辞辛苦的工作着。某日，他不慎在引爆炸药是，意外被炸伤腿。郑妻林金凤，是个传统贤惠的妻子。大儿子岳峰，二女儿心怡以及小儿子文良。三个孩子都相当懂事听话，尤其是岳峰和心怡，小小年纪已经懂得替妈妈分忧。可是天有不测风云，一场意外，让三姊弟连夜逃生，不幸走散。数年后，三个人有了不同的境遇。

男人头戴鲜艳的帽子在一座四周被海水包围的岛屿上随着节奏兴奋地舞蹈着，突然，有声响传来，男人停下张望了一会，继续舞动身躯。声响越来越近，周围景色也随之暗淡下来，死神坐着船来到男人面前。 死神命令男人下岛上船，思忖了一会，他又让男人交出帽子。随后，死神蒙上男人的眼睛，跳上岛，戴上男人的帽子脱掉长袍舞蹈起来。男人偷偷观看，乐坏了，摘下眼罩上岛和海盗一起舞蹈，这时，发生了一件让他唏嘘却又十分开心的事。